THE INDUSTRIAL REVOLUTION and its impact on design
THE “INDUSTRIAL REVOLUTION” The Industrial Revolution was a period from the late 18th century to the 19th century when MAJOR changes in AGRICULTURE, AGRICULTURE, MANUFACTURING, TRANSPORTATION and COMMUNICATIONS took place.
These changes resulted in a profound effect on the socio-economic and cultural conditions of the world. Almost EVERY aspect of daily life was eventually influenced in some way. way.
The Industrial Revolution was a shift from: - “hand” production to “machine” “machine” production production
- “individual” production to “mass” “mass” production production
Origins of the assembly line: a “dis-assembly line” – Pork Packing in Cincinnati, 1870s
August 1913: One day’s production at Henry Ford’s Highland Park (Michigan) factory – 1,000 completed Model-T bodies [without engines]
By 1916, this would increase to 2,000 per day. In 1926, the factory hit an all-time high producing 9,000 in one day
AND . . . -from “country / village” living to “city / urban” living 9 5 8 1 ” , k r o Y y w n e o h t N , n y A a w d r d a a w o r d B E , y a D y n i a R “
from “slow” living to “fast” living
“Coney Island Beach & Boardwalk Scenes,” 1898
http://upload.wikimedia.org/wikipedia/commons/9/9f/Chicago_-_State_St_at_Madison_Ave%2C_1897.ogv
Such changes also brought about a shift in our understanding of TIME and SPACE:
- Train and Steam-Ship Travel (Later, the Automobile and the Airplane) - Transportation Infrastructure: Canals, Roads, Bridges, Subways, etc. - Communication Networks: Telegraph, Telephone, Phonograph (Later, Radio & TV) - Standard World Time Zones ( and “Summer Time” / Daylight Savings Time) - The “Work Week” (Monday-Friday) and “Weekend” (Saturday and Sunday) - Still Photography and the Cinema (“the movies”) - Rise of “the media” (Newspapers, Magazines, Radio) and publishing/broadcasting on a regular basis
SPREAD OF THE INDUSTRIAL REVOLUTION The Industrial Revolution began in England, Scotland and Ireland (1820s-30s), and then spread throughout Northern Europe (1850s-70s), to Southern Europe and North America (1870s-1914), and the rest of the world (1914-1930s and beyond).
“THE GREAT WAR,” 1914 - 1918 ( World War One ) Coming as it did after the technological advances of the 19th century, World War One, was the first major “industrialized” conflict.
The main instigator in Industrialization was the creation and harnessing of human-made power sources:
Steam and Electricity created by either Water-Power or Burning Coal
Philipp Jakob Loutherbourg the Younger, “Coalbrookdale by Night,” 1801 “blast” furnaces light the iron-making town at night and release a HUGE amount of smoke and pollution
The Brooklyn Bridge, as seen on a postcard from 1900
The main instigator in Industrialization was the creation and harnessing of human-made power sources:
Steam and Electricity created by either Water-Power or Burning Coal
George and Robert Stephenson, “Locomotion No. 1,” 1825
The Liverpool-to-Manchester Railway, 1830
“Map of British Coal Exports to the World, 1864,” made by Charles Joseph Minard in 1868
Nikola Tesla demonstrating “wireless” transmission of energy, New York, 1891 (would later lead to radio wave transmission)
PERCENTAGE OF THE WORLD’S POPULATION LIVING IN URBAN AREAS
1800: 3%
1900: 20%
2010: 50%
(Great Britain: 90%, USA and Continental Europe: 80%)
Gustave Caillebotte, “Street in Paris; A Rainy Day,” 1877
Philadelphia, late 19th century
THE GROWTH OF CITIES
1800: 1900: 2010:
LONDON
PARIS
NEW YORK
ISTANBUL
TOKYO
860,000 6.7 million 7.4 million
550,000 3.3 million 9.2 million
60,500 4.2 milion 16.2 million
570,000 1.2 milion 11.4 million
1.0 million 1.5 million 8.6 million
Interior views of “Au Bon Marche” Department Store, Paris, FRANCE late 19th century
Interior views of Harrod’s Department Store, London, ENGLAND late 19th century
Sample pages from Sears Catalog No. 110 (1914)
Sample pages from Sears Catalog No. 110 (1914)
Late 19th century / Early 20th century
“WORLD EXHIBITIONS” 1851: London, ENGLAND 1855: Paris, FRANCE 1862: London, ENGLAND 1867: Paris, FRANCE 1873: Vienna, AUSTRIA 1876: Philadelphia, USA 1878: Paris, FRANCE 1879: Sydney, AUSTRALIA 1884: New Orleans, USA 1888: Barcelona, SPAIN 1889: Paris, FRANCE 1893: Chicago, USA
1897: Brussels, BELGIUM 1900: Paris, FRANCE 1901: Buffalo, USA 1904: St. Louis, USA 1905: Liège, BELGIUM 1906: Milan, ITALY 1907: Dublin, IRELAND 1909: Seattle, USA 1910: Brussels, BELGIUM 1911: Turin, ITALY 1913: Ghent, BELGIUM 1915: San Francisco, USA
Joseph Paxton, “The Crystal Palace,” for the Great Exhibition of the Works of Industry of All Nations, London, ENGLAND, 1851
Joseph Paxton,“The Crystal Palace,” for the 1851 Great Exhibition, London
Joseph Paxton inspecting “The Crystal Palace” during construction, 1851
Joseph Paxton,“The Crystal Palace,” for the 1851 Great Exhibition, London
Joseph Paxton, “The Crystal Palace,” for the 1851 Great Exhibition, London interior views
Joseph Paxton, “The Crystal Palace,” for the 1851 Great Exhibition, London interior views
Joseph Paxton, “The Crystal Palace,” for the 1851 Great Exhibition, London, UK 100,000 objects by over 15,000 contributors: machines, textiles, furniture, musical instruments, crafts, etc.
George Henry Corliss, “The Corliss Steam Engine,” as exhibited in Centennial Hall, Philadelphia, for t he 1876 World Exposition
“The Universal Exposition,” Paris, FRANCE, 1889
“The Eiffel Tower”
Caricature of Gustave Eiffel in the form of the Eiffel Tower by Edward Linley Sambourne (Punch Magazine, vol. 96, p. 32, June 29, 1889).
Gustave Eiffel, Tower for the 1889 Paris Universal Exposition (“The Eiffel Tower”)
“The Hall of Machines” at the Universal Exposition,
“World's Columbian Exposition,” Chicago, USA, 1893
D. H. Burnham and F.L. Olmsted, “World's Columbian Exposition,” Chicago, USA, 1893
SOME “FIRSTS” OF THE 1893 WORLD’S COLUMBIAN EXPOSITION
Electrical pioneer and inventor Nikola Tesla demonstrated phosphorescent lights, a precursor to fluorescent light bulbs.
“Elongated Coins” (flattened or stretched coins embossed with a new design with the purpose of creating a souvenir).
Engineer and inventor Whitcomb L. Judson demonstrated “the clasp locker," a forerunner to “the zipper”
MORE “FIRSTS” OF THE 1893 WORLD’S COLUMBIAN EXPOSITION
F.W. Rueckheim introduced a mixture of popcorn, peanuts and molasses, renamed “Cracker Jack” in 1896
William Wrigley Jr. introduced “Juicy Fruit” gum The American Cereal Company introduced “Quaker Oats” A small flour mill from Grand Forks, North Dakota, introduced a “breakfast porridge” called “Cream of Wheat”
Lawyer and businessman Henry Perkey introduced a breakfast cereal called “Shredded Wheat”
ARTS and CRAFTS MOVEMENT (England, 1860–1910)
ART NOUVEAU (Europe, 1890–1905)
DER DEUTSCHER WERKBUND (DWB) (Germany, 1907-1938)
FUTURISM (Italy, 1909-1918)
ARTS and CRAFTS MOVEMENT
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An artistic movement in England that was a reaction to the mass production of the Industrial Revolution The movement was not totally against mass-production they were just concerned with how to combine the economics of mass-production and the “joy of making” for a factory worker.
ARTS and CRAFTS MOVEMENT
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Name: from the “Arts and Crafts Exhibition Society” formed in London in 1887, which held annual exhibitions at the New Gallery in the 1880s and 1890s.
“The New Gallery,” 121 Regent Street, London, as seen in 1890.
Walter Crane, pages from Line and Form, 1900
William Morris, first page of The Nature of Gothic (written by John Ruskin) and colored sketch for initials, 1853
William Morris (1834-96), wallpaper designs, 1875-80
William Morris (1834-96), carpet designs, 1875-80
William Morris (1834-96), furniture designs, 1860s
typical 19th century furniture
Philip Webb and William Morris, The Red House, Bexleyheath, ENGLAND, 1859 “
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Philip Webb and William Morris, The Red House, Bexleyheath, ENGLAND, 1859 “
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Philip Webb and William Morris, The Red House, 1859 “
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typical 19th century interiors
ART NOUVEAU Meaning “New Art” in French, Art Nouveau , popular between 1890–1905, was both a reaction to the Neoclassicism and nostalgia of the 19th century and an attempt at embracing, rather than rejecting, industrialization.
Art Nouveau was was also known as: (Youth Style) in Germany Jugendstil (Youth Liberty Style in England Secession in Austria Arte Joven (Young (Young Art) in Spain Arte Nuova (New (New Art) in Italy Nieuwe Kunst (New (New Art) in the Netherlands !"#$%& (Modern) in Russia
THE GOALS OF
ART NOUVEAU
The unity of arts and crafts. The interpenetration of all the arts to be realized in a space of a totality, as elements of a single design whole (also known as Gesamtkunstwerk or or “total art” ) ) Art Nouveau artists artists believed that they should work on everything from architecture to furniture, making art part of everyday life.
It was seen as a liberation from history and the from the problems of modern society. The grand coordination to be provided by the “repertoire of nature”
Henri van der Velde (1863-1957) “It is clear that machines will eventually have to make good all the misery they have caused, and atone for the atrocities they have committed ...
They produce beautiful things and ugly things indiscriminately. But the mighty power of their iron arms will produce beautiful things as soon as they are governed by beauty.” (1894)
Henry van de Velde “Tropon Advertisement,” 1898
Henri van der Velde, 1890s desk, piano bench, lights, chairs, candelabra, cutlery
Hector Guimard, “Metro Entrances,” Paris, FRANCE, 1899-1904
Hector Guimard, “Metro Entrances,” Paris, FRANCE, 1899-1904
Hector Guimard, furniture and object designs, 1890s-1900s
Art Nouveau doors and doorways in Paris and Brussels
Art Nouveau lettering in the sign for Moninger Brewery, Karslruhe, GERMANY, 1896
Louis Comfort Tiffany,
Victor Horta, ”Tassel House,” Brussels, BELGIUM, 1892-93
Victor Horta, ”Tassel House,” Brussels, BELGIUM, 1892-93
Otto Wagner, “Majolikahaus,” Vienna, AUSTRIA, 1898
Otto Wagner, “Majolikahaus,” 1898
4 9 8 1 , t d r a h n r e B h a r a S r o f r e t s o P a d n o m s i G , a h c u M e s n o h p l A
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2 9 8 , 1 t r , i k é S m o k l c a o S c y a a e l P p s e ' h e T l " d i , y W e r l s a c d r s a O e r o B f y n e o r t b i u a r A t s u l l i
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“TO THE AGE ITS ART,
TO ART ITS FREEDOM”
Antonio Gaudi, “Parc Guell,” Barcelona, SPAIN, 1898-1914
DER DEUTSCHER WERKBUND
(The German Work Federation), 1907-1938 4 1 9 1 , “ e ” , k r e c t m s h o E P h t e u n g o m l l l o e H C z d n t i r u F b k r e W “
4 1 9 1 “ ” , r e , s t s n o e P r r e h n e g B l r o e o t e C P d n u b k r e W “
A state-sponsored association of architects, designers and industrialists, whose aim was to integrate traditional crafts and industrial mass-production techniques, and put Germany on a competitive lev el with England and the United States.
Walter Gropius and Adolph Meyer, “Model Factory for Werkbund Exhibition,” Cologne, 1914
Bruno Taut, “Glass Pavilion,” Cologne, 1914
Fritz Hellmut Ehmcke, “Werkbund Tobacco Boxes,” 1914
Fritz Hellmut Ehmcke, “Crefeld Werkbund Poster,” 1911
Fritz Hellmut Ehmcke, “Deutsches Reich Postage Stamps,” 1922
Peter Behrens, “Werkbund Packet for Bahlsens Biscuits,” 1914
Peter Behrens, “Approximately One Watt per Candle,” poster for Allegemeine Elektricitäts Gesellschaft (General Electric Company),” 1911
Peter Behrens, “Posters for Allegemeine Elektricitäts Gesellschaft (General Electric Company),” 1913
Peter Behrens, “AEG Logo,” 1907
Peter Behrens, “AEG Calendar,” 1913
Peter Behrens, various electrical household appliances for AEG, 1907-1910
Peter Behrens, AEG Turbine Factory, Berlin, GERMANY, 1908-9
Peter Behrens, AEG Turbine Factory, Berlin, GERMANY, 1908-9
FUTURISM A total rejection of tradition and “the past.” In keeping with the “Machine Age,” the Futurists saw technology as the basis for a new culture. Speed, noise, machines, transportation, communication, information, and all the transient impressions of life in the modern city excited and intoxicated the Futurists.
Boccioni: “We must split open the figure and place the environment inside it.”
Umberto Boccioni, “Unique Forms of Continuity in Space,” 1913
Umberto Boccioni, “Fist,” 1915
Anton Bragaglia, “The Typist,” 1911
Anton Bragaglia, “The Cellist,” 1913
Giacomo Balla, “Abstract Speed and Sound,” 1915
Giacomo Balla, “Passing Car,” 1913
Giacomo Balla,
Giacomo Balla,
Giacomo Balla, “Sketches for Anti-Neutral Suits,” 1914
Giacomo Balla, “Sketch for Anti-Neutral Handbag,” 1916
F. T. Marinetti, “Zang Tumb Tumb” (On the Battle of Adrianopolis) 1912-14
Filippo Marinetti, Bruno Corra and Emilio Settimelli, “Manifesto of Futurist Theatre,” 1915: “With color, forms, sounds and noises, it will, like the works of Futurist painters and musicians, assault the nerves . . . The spectators will be made to “forget the monotony of everyday life” through a labyrinth of sensations characterized by the most exasperating originality combined in unexpected ways.
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Luigi Russolo and Ugo Piatti, “Laboratory of the Noisemakers,” 1913
http://reaktorplay .wordpress.com/2011/07/18/the-art-of-noises-luigi-russolo-audio-works/
Antonio Sant’Elia, “La Città Nuova” (The New City), 1913
Antonio Sant’Elia, “La Città Nuova” (The New City), 1913
Antonio Sant’Elia, “La Città Nuova” (The New City), 1913 “airplane and train station with funicular rail lifts on three roadways”
Antonio Sant’Elia, “La Città Nuova” (The New City), 1913 “airplane and train station with funicular rail lifts on three roadways”
PHOTOGRAPHY ( photo = light, graphos = writing)
Inventing Photography:
The phenomenon of the camera obscura (literally dark room ) is that a small hole in a dark room projects the image of the outside on the opposite wall. “
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The phenomenon had been known since the Ancient Egyptians (2,500 years ago). Mo-Ti, the Chinese founder of Mohism, mentioned the phenomenon in his writings in the 4th century BCE.
Rainer G. Frissuis, Camera Obscura, 1544 “
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Rainer G. Frissuis, Camera Obscura, 1557 “
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Selected Paintings by Jan Vermeer, 1660s
Possible “dark room” used by Jan Vermeer
By the 18th century, portable camera obscura with lenses became available that allowed artists, and anyone else handy with a pencil, to trace the projected images from the camera obscura.
In the 19th century, further devices were invented that allowed this tracing of nature without the use of a room or even a boxbox. “
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However, these images were one-of-a-kind and required drawing skill.
The Frenchman Joseph Niépce invented a process using silver, iodine and bitumen to fix the camera obscura image onto a piece of metal, “
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but this proved to be too time-consuming and the materials too expensive.
Joseph Niépce, “View from the Window at Le Gras,” 1827
About the same time as Niépce, Englishman William Talbot, developed a method of making negative prints.
Niépce then teamed up with another Frenchman, Jacques Daguerre, to perfect the process, but it was still complicated, used expensive materials, required dangerous chemicals, and took a long time to expose each shot in the camera .
William Talbot then developed a method to produce multiple copies of that fixed image: the negative In addition, Talbot also shortened the amount of exposure time to five seconds.
William Talbot, “Open Door,” (left: negative original; right: positive print), 1843
The camera can reveal aspects of motion that can not be seen with the human eye. For this reason, it was initially embraced by scientists in the 19th century.
Eadward Muybridge, Horse Galloping: Daisy with Rider, 1878 “
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Later, artists began to understand the advantages of photographing their subjects as a tool to aid them in painting.
Henri Toulouse-Latrec, “At the Café La Mie,” 1891
Edgard Degas, “Blue Dancers,” 1895
Many 19th century photographers aimed to create photographs that looked like paintings.
Henry P. Robinson, Fading Away,” 1858 “
In the early 20th century, photography became an art form itself.
Man Ray, Rayograph,” 1926
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Laszlo Moholy-Nagy, In the Laboaratory,” 1938
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In the early 20th century, photography gradually began to overtake drawings and illustrations in newspapers and magazines.
The New York Times, 1861 and 1916
TIME magazine, 1923 and 2010
Eadweard Muybridge, “Man Ascending Stairs,” 1887
These experiments led to the development of the cinema (or, “the movies”)
In 1891, Thomas Edison successfully demonstrated the “Kinetoscope,”which enabled one person at a time to view moving pictures.
In 1895, brothers Louis and August Lumiere were the first to present projected, moving, photographic pictures to a paying audience of more that one person.
Like still photography, the cinema was at first quite documentary (LEFT), but later it too developed into the art form (RIGHT).
“A Selection of Lumiere Brothers Films from the 1890s”
Dziga Vertov., “Man with a Movie Camera,” 1929
http://www.youtube.com/watch?v=4nj0vEO4Q6s
http://www.youtube.com/watch?v=Iey9YIbra2U
“Modern Times” Charlie Chaplin, director (1936) http://www.imdb.com/title/tt0027977/
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